Original title: | Paddington in Peru |
Director: | Dougal Wilson |
Release: | Cinema |
Running time: | 106 minutes |
Release date: | 14 february 2025 |
Rating: |
To my beloved parents
It's been seven years since Paddington 2 established itself as one of the most beloved family films of all time, a film so universally adored that it dethroned Citizen Kane as the highest-rated film on Rotten Tomatoes for a while. This is no mere hyperbole; Paddington 2 truly succeeded in creating something special - a perfect blend of slapstick comedy, emotional storytelling and acerbic but never cynical social commentary - that elevated it above its already excellent predecessor.
The anticipation for Paddington in Peru was therefore both exciting and worrying. Could it live up to what had gone before? The answer, like Paddington's journey in this film, is a little complicated. Paddington in Peru is a warm, visually arresting and thoroughly enjoyable adventure. There are plenty of laughs, some poignant moments and characters as endearing as ever. But there's also something missing - an intangible spark, a certain effortless magic - that made the first two films so perfectly balanced. This is the kind of film that's easy to love, but harder to get attached to, a charming but slightly watered-down sequel to the franchise that trades in its trademark London fantasy for a jungle adventure that doesn't always play to its strengths.
The story begins in a way that should have been an emotional milestone: Paddington (once again played with sweet perfection by Ben Whishaw in the original) finally becomes a British citizen. It's a touching moment that harkens back to the bear's fundamental identity as an immigrant, a foreigner who has found a new home in the UK. Yet, rather than taking the time to explore what this means for him, the film rushes through this development to set up its central adventure. Paddington receives a letter from Reverend Mother (Olivia Colman), the kind but enigmatic director of the Home for Retired Bears in Peru, informing him that his beloved Aunt Lucy (again played by Imelda Staunton) has mysteriously disappeared. Concerned for his aunt's well-being, Paddington and the Brown family - Henry (Hugh Bonneville), Mary (Emily Mortimer, replacing Sally Hawkins), their children Judy (Madeleine Harris) and Jonathan (Samuel Joslin), and the indomitable Mrs. Bird (Julie Walters) - set off for Peru in search of her. What follows is a journey into the heart of the Amazon rainforest, guided by the charismatic but wary riverboat captain Hunter Cabot (Antonio Banderas) and his daughter Gina (Carla Tous). Along the way, the Browns face jungle dangers, ancient riddles and a treasure hunt that leads them to the legendary lost city of El Dorado.
One of the hallmarks of the Paddington films has been their quintessentially British charm - meticulously crafted sequences of absurd yet heartfelt comedy set against the colorful backdrop of London. Whether it's Paddington wreaking havoc in a barbershop, befriending inmates in a pastel-colored prison or taking part in a whimsical escape sequence à la Rube Goldberg, previous films have thrived on their ability to transform the ordinary into something magical. Paddington in Peru takes a different approach, turning the series from a comedy of manners into a full-fledged adventure film. Instead of tea-room misadventures and neighborhood squabbles, we're treated to rope bridges, booby-trapped temples and cloak-and-dagger villains. It's a fun change of pace in theory, but in practice, it doesn't feel at all like Paddington's world. The film relies on the stylistic figures of classic adventure films - there are obvious nods to Indiana Jones, The Jungle Book and even Werner Herzog's jungle epics like Fitzcarraldo. However, while these stories thrive on tension and high stakes, Paddington has always found its greatest strengths in the small moments when the characters are at the heart of the action. By placing Paddington in a context where the humor is more situational than rooted in the interactions between the characters, the film loses some of the warmth and effortless wit that made its predecessors shine.
One of the film's biggest shortcomings is its depiction of Peru itself. In the first two films, London was more than just a setting - it was a character in its own right, a city full of detail, personality and history. Paddington's interactions with his neighbors, his work at the antique shop and his love of the simple pleasures of city life made London a perfect home for him. By contrast, Peru, despite its breathtaking scenery and lush cinematography, feels more like a backdrop than a lived-in world. There are a few attempts at cultural authenticity, including a brief scene where Paddington interacts with Peruvian locals, but for the most part, the country is reduced to an exotic playground for the Browns' adventure. The film misses the opportunity to explore Paddington's connection to his homeland in a more meaningful way, and uses Peru as a venue for spectacle rather than introspection.
The cast is, as always, perfect. Ben Whishaw remains the beating heart of the franchise, bringing to Paddington an unshakeable sincerity that makes him one of the most endearing characters in modern cinema. Hugh Bonneville has more room to shine as Mr. Brown, whose risk-averse nature is put to the test by the wild jungle setting. Emily Mortimer, filling in for Mary Brown, does an admirable job, but it's hard not to miss the warm, unique presence of Sally Hawkins. Olivia Colman steals every scene as the whimsical and slightly unhinged Reverend Mother. Her grand musical number is one of the film's highlights, a wonderfully bizarre moment that captures the playful spirit of the franchise. Antonio Banderas, meanwhile, is clearly having fun as Hunter Cabot, a morally ambiguous explorer with a flair for the dramatic. However, despite his entertaining performance, Cabot lacks the complexity and charisma of previous Paddington villains, such as Nicole Kidman's taxidermist or Hugh Grant's egotistical actor.
One of the most striking aspects of Paddington and Paddington 2 was their underlying social commentary. The former subtly explored themes of immigration and belonging, while the latter intelligently criticized privilege, prejudice and the British legal system, while being relentlessly funny and heartwarming. Paddington in Peru nods to these themes, but never fully engages with them. The idea of home - what it means, where we find it - is lightly touched upon, but instead of allowing Paddington to explore this concept through his own experiences, the film delivers its message in a monologue that's a little too fast. The social satire that made the first two films so sharp and relevant is largely absent here, making this feel like the safest installment in the series.
Paddington in Peru establishes itself as a delightful adventure with moments of genuine charm, humor and visual beauty. Dougal Wilson, making his directorial debut, does an admirable job of keeping the franchise warm, but without Paul King's singular vision, the film lacks the meticulous attention to detail and narrative cohesion that made its predecessors so special. That said, there's still plenty to enjoy. Even a weaker Paddington movie is better than most family films, and the sheer joy of seeing this beloved bear on screen again is enough to make the journey worthwhile. Paddington in Peru reminds us that kindness, optimism and a well-made marmalade sandwich can brighten even the darkest days. And after all, isn't that exactly what we need?
Paddington in Peru
Directed by Dougal Wilson
Written by Mark Burton, Jon Foster, James Lamont
Story by Paul King, Simon Farnaby, Mark Burton
Based on Paddington Bear by Michael Bond
Produced by Rosie Alison
Starring Hugh Bonneville, Emily Mortimer, Julie Walters, Jim Broadbent, Carla Tous, Olivia Colman, Antonio Banderas, Ben Whishaw
Cinematography : Erik Wilson
Edited by Úna Ní Dhonghaíle
Music by Dario Marianelli
Production companies: StudioCanal, Columbia Pictures, Stage 6 Films, Kinoshita Group, Marmalade Pictures
Distributed by StudioCanal (United Kingdom/France), Sony Pictures Releasing (United States)
Release dates: 8 November 2024 (United Kingdom), 5 February 2025 (France), 14 February 2025 (United States)
9 May 2025 (Japan)
Running time : 106 minutes
Seen on February 5, 2025 at Gaumont Disney Village, Room 9 seat A19
Mulder's Mark: